ReMix: Hitman: Codename 47 'ChainedtoaBarcode'
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Hitman and Hitman 2 have been doing a lot for the image of bald men in videogames as being fairly badass, compensating for Abobo and other inept hairless game heroes and villains from decades past. Newcomer Rayagon gives us our first Hitman ReMix with this nice electro-orchestral (or is that, "orchestro-electronic"?) piece, introing with slow-attack strings and a nice oboe solo over a pulsing synth bass and hi-hat fx that take a cool pitch-bend downwards before a stop that then picks back up with piano. The ReMixer writes:
"This is a remix of the menu, main theme from Hitman: Codename 47. That's the one with the badass bald guy who sounds a bit like Chirstopher Walken in hell ("This place seems quiet. Where... do I go... for some action?!") The mix is done mostly orchestral style, with some techno thrown in; it's all got a kind of poignant, determined feel to it, because I figure if I killed people all day I'd have to be pretty plagued by guilt, and pretty determined... but Hitman says it better himself in the mix."The voiceover quote at the end works well enough, I suppose, but CotMM made a comment that I agree with in suggesting that something should have been done to it:
"a final comment on the voice sample... it's just too dry. It doesn't need reverb, or any of that special effects garbage.. it just needs some sort of treatment so it's not as "HI!!!!111 I"M A VOICE OVER~~!~" all of the sudden. That might be as simple as lowering the volume and panning it just a hair off to one side, or you might just resample the entire monolouge with someone else reading it... I dunno."There's a nice piano break at 1'53" and a cool pizzicato section that follows it up. Overall, this has some effective harmony, instrumentation, and some individually enjoyable and creative sections. They could have been pieced together to form a more cohesive whole, but the way they're currently juxtaposed still makes for a nice musical journey, and a good first hitman mix and first mix in general.
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